Alexander BORODIN (1834 - 1887)
Prince Igor (1890) [210:33]
Boris Martinovich (bass-baritone) - Igor Svyatoslavich, Prince of Seversk
Stefka Evstatieva (soprano) - Yaroslavna, his wife
Kaludi Kaludov (tenor) - Vladimir Igorevich, Igor’s son
Nicola Ghiuselev (bass) - Vladimir Yaroslavich, Prince Galitsky, Yaroslavna’s
brother
Nicolai Ghiaurov (bass) - Konchak, Polovtsian Khan
Alexandrina Milcheva (mezzo) - Konchakovna
Mincho Popov (tenor) - Ovlur, baptized Polovtsian
Stoil Georgiev (tenor) - Skula, buffoon
Angel Petkov (baritone) - Yeroshka, buffoon
Elena Stoyanova (mezzo) - Yaroslavna’s nurse
Sofia National Opera Chorus and Sofia Festival Orchestra/Emil Tchakarov
rec. 14 - 20 July, 1987, Hall 1 of the National Palace of Culture, Sofia.
DDD
BRILLIANT CLASSICS 94608 [3 CDs: 73:31 + 73:33 + 63:29]
At Brilliant's prices it would be crazy to complain
even if this performance were only adequate, but as it is, it is in
fact in many ways very good. That’s especially true in terms of
the sound and brilliance of the Sofia forces under Tchakarov's energised
direction. Both chorus and orchestra are really impressive, singing
and playing with huge verve and enthusiasm. The Polovtsian set pieces
are very idiomatic: lilting and invigorating by turns.
By and large we have here a number of star voices, some of whom are,
to put it kindly, in their later flowering but they are still artists
of note. Amongst these are veteran Bulgarian basses Ghiuselev and Ghiaurov,
both a bit rough, rusty and unsteady of tone but also powerful and characterful
as Galitsky and Khan Konchak respectively. Rather more elegant singing
is provided by the smoothly authoritative bass-baritone Boris Martinovich,
who also collaborated with Tchakarov in an excellent "Life for the Tsar"
and as Rangoni in "Boris Godunov". It is possible to carp about some
of the throatier comprimario tenor roles here and even lead tenor Kaludi
Kaludov is at times a bit breathy and hoarse but he sings in very committed,
convincing manner. The power of Stefka Evstatieva's soprano is occasionally
compromised by the typical "Slavonic steam-whistle" effect she produces
at forte but she is a compelling vocal actress. Alexandrina Milcheva
is perfectly acceptable as Konchakovna and she has a serviceable lower
register. That said, her voice does not have the velvety, sensual power
of such as Obraztsova in what is, in my estimation, an unjustly neglected
recording conducted by Mark Ermler. Some of the best singing may be
heard in the stirring Third Act Trio for Konchakovna, Igorevich and
Prince Igor and also the touching aria for Yaroslavna which follows
that, feelingly sung by Evstatieva with some pointed use of smoothly
controlled dynamics.
This does not shake my preference for the Ermler recording but I readily
concede that this one is both subtler and much more affordable than
that red-blooded version. It has no libretto, only an excessively condensed
synopsis.
Ralph Moore
